Joby Aviation and Virgin Atlantic team up to bring electric air taxis in the UK with flights to London in as little as eight minutes. The teams expect to launch ‘zero-emission’ and short-range journeys. The first operation starts within Virgin Atlantic’s hubs at Heathrow and Manchester Airport. There’s no news yet on when the first flights are set to take off. So far, the electric air taxis in the UK include a 15-minute flight from Manchester Airport to Leeds.

On top of that, a trip from Heathrow Airport to central London can also take as little as 8 minutes. The same goes from Heathrow Airport to Canary Wharf with the aircraft, instead of 80 minutes by car. Joby Aviation and Virgin Atlantic eye to expand the network of landing locations across the cities and even communities in the UK. They aim to offer ‘prices that are comparable with existing premium ground ridesharing options at launch.’ The partnership builds on an existing agreement between Joby and Delta Air Lines, which owns a 49 percent stake in Virgin Atlantic.

all images courtesy of Joby Aviation

joby aviation and virgin atlantic to offer back-to-back flights

Design-wise, Joby Aviation’s electric air taxis can carry a pilot and up to four passengers at once. They fly at a speed of up to 200 miles per hour. There are six tilting propellers around the aircraft, helping it take off and land vertically. The aviation company says the noise they produce is a fraction of those produced by today’s helicopters. The design of the electric air taxis set to appear in the UK for to-and-from flights can conduct rapid, back-to-back flights. So far, the expected deployment on routes is up to 100 miles. 

Joby Aviation has completed thousands of test flights, including exhibition flights in New York City, Japan, and Korea at the present time. The company exhibited its aircraft in the UK at the 2024 Farnborough International Airshow. Then in July 2022, it formally applied to have its aircraft validated for use by the UK Civil Aviation Authority (CAA). With Virgin Atlantic, customers can book their flights on the aircraft using the airline’s app. Presently, the teams are developing the electric air taxis, with news about the operation in the UK and London yet to be announced.

Joby Aviation and Virgin Atlantic team up to bring electric air taxis in the UK with flights to London

the teams expect to launch ‘zero-emission’ and short-range journeys

the first operation starts within Virgin Atlantic’s hubs at Heathrow and Manchester Airport

so far, the electric air taxis in the UK include a 15-minute flight from Manchester Airport to Leeds

a trip from Heathrow Airport to central London can also take as little as 8 minutes

there’s no news yet on when the first flights are set to take off

project info:

name: Electric air taxis

companies: Joby Aviation, Virgin Atlantic | @jobyaviation, @virginatlantic

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Japanese studio nendo, together with AREP, unveils its river-inspired design for SNCF Voyageurs’ fifth-generation TGV train. Since it began operation in 1981, the train has redefined high-speed rail travel across France and beyond, and the latest iteration, co-developed with ALSTOM, builds on this legacy to reach speeds of 300 km/h while accommodating up to 1390 passengers in its most high-density configuration.

nendo and AREP’s design concept, here rooted in minimalism and efficiency, draws from the natural flow of water to envision this double-decker vessel as an entity that moves smoothly across the landscape. Its external body features abstract semi-circles in white and gray over a warm gray base, subtly evoking the ripples and waves of flowing water. The use of dark horizontal lines helps integrate technical components like inspection ports and exhaust vents into the overall aesthetic, while the doors, painted in SNCF’s signature Bordeaux hue, provide high-contrast visibility for accessibility.

all images by Yann Audic

the river-inspired design embraces fluidity

Inside the train, nendo and AREP extend the river concept through color, form, and materiality. The seating arrangement fosters a sense of spatial continuity, with horizontal color divisions that align between the seats and walls, reinforcing the feeling of openness. In first class, a palette of Bordeaux and dusky brick red with mustard yellow accents creates warmth, while second-class seating shifts to a cooler spectrum of navy and blue-gray. A subtle gradient effect darkens the seats toward the base in both segments, mirroring the visual depth of a river.

The seats themselves embody the natural softness of water-polished pebbles. Designed as shell-like enclosures, they include vertically adjustable headrests and lumbar support, their rounded forms echoing smooth river stones. Upholstered in Octaspring, a lightweight and breathable 3D-knitted fabric, the seats offer both durability and comfort. The design team has also integrated tables that can be adjusted for various uses, from compact smartphone surfaces to wider set ups for working or eating, while foldable footrests and armrests enhance wheelchair accessibility during boarding and disembarking.

nendo and AREP unveil design for SNCF Voyageurs’ fifth-generation TGV train

the double-decker train hosts various social atmospheres

nendo and AREP’s new TGV also reimagines the onboard café experience with a double-decker bar carriage designed to accommodate different social atmospheres. The train’s lower deck functions as a café-bar serving snacks and beverages, while the upper deck offers a lounge space with informal seating arrangements. Echoing the train’s overall aesthetic, the lower deck carries the same horizontal color split found in the passenger cabins, with soft, undulating counters and shelving that evoke the feeling of floating. The upper lounge takes the riverbed analogy further, featuring benches and cushions of various sizes and orientations, arranged like scattered pebbles. It features a mix of seating styles, from intimate corners to more open, casual spaces suited for groups. Perforated metal sheets, used in luggage racks and vent covers throughout the train, reinforce the sense of lightness and suspension.

Throughout, accessories such as reading lights, coat hooks, and assist grips continue the motif of rounded, organic shapes. Lighting plays a central role in shaping the ambiance, with three distinct models — tall versions for seating areas, compact fixtures for bar carriages, and wall-mounted options for corridors — all sharing a cohesive design language. The overhead luggage racks, too, with built-in lighting, emphasize softness, featuring anti-fall bars that appear to gently touch, reinforcing the theme of weightlessness and floating. 

the design concept is inspired by the natural flow of rivers

integrated seating capacity for up to 1390 passengers

a subtle gradient effect darkens the seats toward the base, mirroring the visual depth of a river

a palette of Bordeaux and dusky brick red in first class

the train can reach speeds of 300 km/h

tables can be adjusted for various uses, from compact smartphone surfaces to wider sets up for working or eating

mustard yellow accents create warmth

second-class seating shifts to a cooler spectrum of navy and blue-gray

upholstered in Octaspring, a lightweight and breathable 3D-knitted fabric, the seats offer durability and comfort

project info:

name: SNCF Voyageurs TGV train

designer: Nendo | @nendo_official, AREP | @arep_group

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Think tank 21st Europe proposes Starline, a high-speed train that travels and stops across different cities in the continent, like a metro. It’s a way to connect the European countries, regardless of borders and political divides. It relies on existing and planned infrastructure and travels at 300–400 km/h. With this in mind, the high-speed train in Europe can take passengers from Helsinki to Berlin in over three hours instead of a full day. Going from Kyiv to Berlin, which has historically been an overnight trip, takes less time as well as from Milan to Munich.

The 21st Europe team – led by Kaave Pour, the co-founder, CEO, and Creative Director at SPACE10 – designs the high-speed train network in Europe as a metro system. It stops at different cities across the continent. In this case, every country has at least one station for the Starline system. The design team says the network even extends beyond Europe, going to and from England, Turkey, and Ukraine. Aside from travelers, this high-speed train in Europe can also transport time-sensitive goods, such as medical supplies, fresh produce, and manufacturing components.

all images courtesy of 21st Europe

Stations that double as landmarks and artistic venues

Starline, the hopeful high-speed train network by 21st Europe, has a clean design. It’s neither industrial nor futuristic. Instead, it leans towards simple and functional. It’s main color is deep blue, chosen to create a distinct identity and reference the European flag. The color helps set it apart from typical metallic trains. The high-speed train in Europe comes with an interior designed to accommodate different travel needs without traditional class divisions. It includes quiet zones for focus, open areas for work and conversation, and family-friendly sections for those traveling with children. There are also café areas provided for snack and meal times.

In addition to passenger travel, the design team says Starline includes dedicated cargo capacity. This allows for the transport of time-sensitive goods. It reduces reliance on short-haul freight flights and congested road networks. The rail system proposes a new network of train stations built outside major cities instead of updating older stations. The design team says each station serves as a national landmark, designed by architects and designers from its respective country. These Starline stations then function as cultural hubs. They include public spaces, cultural institutions, and venues. Unlike traditional stations, these stations could incorporate concert halls, museums, and event spaces for exhibitions, performances, and sporting events.

21st Europe proposes Starline, a high-speed train that travels around the continent like a metro

AI-driven, sensor-based security on-board

For the project, 21st Europe plans an open ticketing platform for Starline. It integrates multiple providers and third-party services, so passengers can buy tickets either through Starline or existing platforms. The goal is to standardize rail access across the continent rather than centralize sales under a single operator. The high-speed train in Europe also expects AI-driven, sensor-based security that monitors passenger flows in real time without creating delays.

Instead of static checkpoints, the system uses biometric verification and automated threat detection. Renewable energy powers Starline, incorporating solar, wind, and battery storage across its stations and network. A smart energy system stores excess power during low demand and optimizes usage in real time, reducing costs and increasing energy resilience. At the present time, the high-speed train in Europe is a proposal and concept project.

it’s a way to connect the European countries, regardless of borders and political divides

it relies on existing and planned infrastructure and travels at 300–400 km/h

the sunroofs on the ceilings provide natural light and views

the transport’s main color is deep blue as a reference to the European flag

the interior is neither industrial nor futuristic, but clean

the train stops at different cities across the continent

proposed train lines across the continent

presently, Starline is a proposal and concept project

project info:

name: Starline

design: 21st Europe | @21st.europe

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East Japan Railway Company (JR East) gears up to launch the E10 Shinkansen bullet train in the country, with an exterior design inspired by cherry blossom petal. In collaboration with the UK-based design consultancy Tangerine, there’s a continuous line along the side of the bullet train that keeps the signature Shinkansen aesthetic. Then, this line creates a flowing curve between the cars, embedding a refreshed motif inspired by the shape of the cherry blossom petals. Outside Japan’s E10 Shinkansen bullet train, the livery is a mix of green color schemes. 

The green on the top is ‘Tsugaru green’ while the dark green at the bottom is ‘Evening Elm.’ Both of their shades mimic the natural scenery as well as the mountains of the Tohoku region that the bullet train passes on its way to its destination. The East Japan Railway Company begins designing the E10 Shinkansen bullet train, which is set to succeed the E2 and E5 series. The company expects its completion in the fall of 2027, following test runs, with commercial operations in the country starting or by 2030. Japan’s E10 Shinkansen bullet train links Tokyo with the Tohoku region, and each production transport consists of 10 cars.

all images courtesy of East Japan Railway Company (JR East) and Tangerine

Wheelchair spaces for persons with reduced mobility

So far, the East Japan Railway Company says the team, in collaboration with the design consultancy Tangerine, expects to incorporate L-shaped vehicle guides. It’s to make sure that Japan’s E10 Shinkansen bullet train doesn’t derail from the tracks during earthquakes. The transportation also features lateral dampers to reduce shaking, minimize damage, and prevent derailment. There’s also an improved braking system on board to shorten stopping distances. The company runs these all through ALFA-X, which is the company’s development test platform.

The design also comes with the ‘train desk’ service. This means there’s more space for storing large luggage pieces as well as installation power outlets at all seats. Wheelchair spaces by the train windows are dedicated to persons with reduced mobility. Then, the seating arrangement only has two seats per row to create more comfortable space for the passengers. Japan’s E10 Shinkansen bullet train also uses a blowerless induction motor, which doesn’t require a cooling motor. The transportation also supports flexible cargo transport. It can minimize space adjustments for when the company plans to convert the train for autonomous operations.

East Japan Railway Company gears up to launch E10 Shinkansen bullet train

the design team led by Tangerine draws inspiration from cherry blossom for the exterior look of the train

the livery and interiors are a mix of green-color schemes

these shades are called ‘Tsugaru green’ and Evening Elm’

wheelchair spaces by the train windows are dedicated to persons with reduced mobility

view of the interiuors

for the upgraded class, there are only two seats per row

the upgraded class’ color scheme mimics the colors of the Japanese seascapes

the company expects the transportation’s completion in the fall of 2027

project info:

name: E10 Shinkansen bullet train

company: East Japan Railway Company (JR East) | @jreast_official

design: Tangerine | @tangerinelondon

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Atelier Bugio designs the iconic Graça Funicular in Lisbon following a typological continuity, integrating the cable railway into the city’s network of transport mechanisms adapted to its hilly terrain. Lisbon has a long-standing tradition of funiculars, elevators, and escalators facilitating movement across its steep streets. This project references the Bica Elevator, adopting a similar approach to functionality and urban integration.

At the lower level, on Rua dos Lagares, the funicular is accessed through a station building that extends the existing street facade. This building houses the equipment when not in operation and serves as a transition space for passengers. The funicular has two stops: one at the lower level on Rua dos Lagares and another at the upper level, near the end of Calçada da Graça. The upper stop is positioned slightly below the viewpoint, allowing the funicular to integrate into the street before beginning its descent.

all images by Alexander Bogorodskiy

Atelier Bugio’s design serves as continuation of the urban fabric

The lower station, designed as a continuation of the urban fabric, connects the funicular to the street through a double-height space. The funicular cabin is structured with two distinct sections: an opaque section containing the operational doors and an emergency exit, and a transparent section offering views of the adjacent convent enclosure, which is being transformed into a public garden. The route follows the convent’s boundary, ascending through the new green space before entering a curved tunnel beneath the viewpoint. Upon reaching Calçada da Graça, the funicular emerges onto the street, orienting its view toward Jardim Augusto Gil and the Tagus River.

This intervention by architectural studio Atelier Bugio establishes a connection between Graça Hill and the lower city while integrating with Lisbon’s historical and topographical context through careful spatial sequencing and material continuity.

the Graça Funicular integrates into Lisbon’s network of hillside transport

designed by Atelier Bugio, the funicular follows the city’s tradition of cable railways and elevators

the upper stop is positioned just below the viewpoint for smooth urban integration

the project establishes a new urban link between Graça Hill and the lower city

a curved tunnel allows the funicular to pass beneath the viewpoint

the station building serves as both storage and a reception space for passengers

a double-height entrance space serves as a transition point for passengers

the design balances functionality, material continuity, and historical context

the funicular enhances accessibility while preserving the site’s historical character

spatial sequencing ensures seamless movement between urban levels

the funicular follows the convent boundary, offering a unique visual connection

the convent grounds are being transformed into a public garden along the funicular route

Atelier Bugio’s design prioritizes integration with Lisbon’s topographical identity

project info:

name: Graça Funicular
architect: Atelier Bugio | @atelierbugio

location: Lisbon, Portugal

photographer: Alexander Bogorodskiy | @photoshootportugal

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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Dominique Perrault Architecture unveils the Villejuif-Gustave Roussy metro station, an essential part of the Grand Paris Express. The large-scale infrastructure project is designed to improve connectivity across the metropolitan region, linking the suburbs together without crossing Paris. With 200 kilometers of automated metro lines and 68 new stations, the project is currently the largest infrastructure project in Europe, aiming to enhance mobility, urban development, and social integration.

Designed by Dominique Perrault Architecture, the Villejuif-Gustave Roussy station is a deeply embedded transport hub, located 50 meters below ground. Its design prioritizes spatial fluidity, creating a transition between the city and its subterranean infrastructure. The station is structured around a vast cylindrical central shaft, which allows natural light to penetrate the underground levels, enhancing visibility and openness. The absence of traditional walls and facades fosters continuity between urban and transit spaces. The station’s materials—concrete, stainless steel, and glass—contribute to durability and energy efficiency, ensuring minimal environmental impact while maintaining a contemporary aesthetic.

image by Arthur Jan, courtesy of Dominique Perrault Architecte

reflective and perforated surfaces optimize light distribution

The station plays a significant role in the broader urban transformation of the Grand Paris area. Located in the ZAC Campus Grand Parc, it facilitates connections between the Institut Gustave Roussy hospital, surrounding residential developments, and public spaces. Integrated commercial spaces and services on the first two levels reinforce its function as a social and economic hub, extending its influence beyond transportation. By linking Line 15 South with the extended Line 14, the station supports intermodal connectivity, enabling smoother transitions between metro, RER, tramway, and bus networks. Dominique Perrault Architecture studio‘s architectural approach aims to create a user-friendly and inclusive space that enhances accessibility and urban interaction.

Energy efficiency and sustainability are central to the station’s design. The use of natural underground resources regulates internal temperatures, reducing the need for artificial heating and cooling. A strategic ventilation system eliminates the need for smoke extraction, further improving energy efficiency. Material selection supports the station’s long-term resilience, with robust, low-maintenance components ensuring durability. The integration of reflective and perforated surfaces optimizes light distribution, enhancing user comfort while reducing reliance on artificial lighting.

image by Michel Denancé, courtesy of Dominique Perrault Architecte

Dominique Perrault incorporates public art into the station

The station also serves as a cultural landmark, incorporating public art to enrich the commuter experience. As part of the Grand Paris Express’ broader artistic initiative, Chilean artist Iván Navarro’s installation, Cadran Solaire, introduces a starry sky of neon lights and mirrors, creating an immersive visual environment.

As one of the 68 stations in the Grand Paris Express network, Villejuif-Gustave Roussy exemplifies the integration of architecture, infrastructure, and urban planning. Through its functional design, territorial impact, and sustainable approach, it sets a precedent for future transit-oriented developments, reinforcing the transformation of Greater Paris into a more connected and dynamic metropolis.

image by Michel Denancé, courtesy of Dominique Perrault Architecte

image by Michel Denancé, courtesy of Dominique Perrault Architecte

image by Michel Denancé, courtesy of Dominique Perrault Architecte

image courtesy of Dominique Perrault Architecte

image courtesy of Dominique Perrault Architecte

image by Arthur Jan, courtesy of Dominique Perrault Architecte

image by Michel Denancé, courtesy of Dominique Perrault Architecte

project info:

name: Villejuif-Gustave Roussy metro station – Grand Paris Express

architect: Dominique Perrault Architecture | @dominiqueperrault

location: Paris, France

client: Société des grands projets (SGP)

engineering project management: SETEC

AMO: Artemis (groupement Artelia + Arcadis + BG)

project management: Dominique Perrault Architect

engineering: SETEC TPI (civil engineering), SETEC bâtiment (construction engineering), Ingérop (coordination, interfaces), TESS (special structure, façades, roofing ETFE), AXIO (economist), Jean-Paul Lamoureux (acoustics and photometrics), Denis Thélot (fire safety and accessibility)

entreprises: Groupement CAP (Vinci construction, Spie Batignolles), Systra, Artelia, Bouygues bâtiment IDF, AXIMA, INEO

site surface area: 7,500 sqm

project surface area: 15,364 sqm

built volume: 203,771 cbm

well diameter: 70 m

depth of moulded walls: 42 m

depth of line 15 South platforms: 49 m

depth of line 14 South platforms: 37 m

number of escalators: 32

studies begin: 2013

works begin: April 2017

completion: December 2024

The post dominique perrault completes sunlit villejuif-gustave roussy metro station in paris appeared first on designboom | architecture & design magazine.

Ginga Architects, led by Koji Takeda, completes a 3.3-square-meter bus stop in the rural landscape of Ninomiya City, Tomiya, Miyagi Prefecture. Inspired by the architecture of traditional Japanese tea houses, the project reimagines a space for the local community, particularly children, who use it daily to commute to and from school.

The facade of the structure is shaped like an open fan facing the street, featuring glass fittings and carefully angled woodwork that allows clear visibility of the interior. Inside, a U-shaped bench creates an ergonomic seating arrangement. The front of this bench is tall enough for adults to comfortably stand against, while its back section is positioned for seated users, offering just enough clearance for the head when leaning back.

images courtesy of Ginga Architects

replacing an uninviting shed with a children-friendly structure

With this bus stop, the Japanese team of Ginga Architects replaced an aging 5-square-meter shed, which had a dark and uninviting atmosphere. Many children were hesitant to use the previous structure, prompting a local carpenter to develop a small, handcrafted, functional, and inviting alternative. By retaining the existing foundation, the design optimizes the two-tatami mat footprint, splitting it into two distinct zones: a covered interior space occupying two-thirds of the area, and a semi-exterior space protected by deep eaves. This arrangement allows users to stay dry while waiting for the bus, even if they prefer to remain outside.

a 3.3-square-meter bus stop in the rural landscape of Ninomiya City

Handcrafted details and a training ground for carpenters

One of the standout features of the bus stop is its handcrafted construction, which incorporates traditional carpentry techniques. Unlike prefabricated or machine-cut woodwork, the intricate diagonal axis and rafter details were meticulously chiseled by hand. Ginga Architects’ approach ensures a high level of craftsmanship but also acts as a valuable training exercise for young local carpenters, who honed their skills in handcarving during the project. The rafters, which converge at the base of the fan-shaped facade, were individually crafted, adding a tactile, human element to the small structure.

inspired by the architecture of traditional Japanese tea houses

the project reimagines a space for the local community

the facade of the structure is shaped like an open fan facing the street

featuring glass fittings and carefully angled woodwork

many children were hesitant to use the previous structure

a U-shaped bench creates an ergonomic seating arrangement

this bus stop replaces an aging 5-square-meter shed

project info:

name: Tomiya Ninoseki bus stop
architect: Ginga Architects – Koji Takeda | @takeda_k07
location: Ninomiya City, Tomiya, Miyagi Prefecture, Japan
area: 4.9 square meters

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: thomai tsimpou | designboom

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The King Abdullah Financial District (KAFD) Metro Station, designed by Zaha Hadid Architects (ZHA), is a sculptural centerpiece of the ambitious Riyadh Metro network set to open its first lines on December 1, 2024. Located in Saudi Arabia’s capital, this state-of-the-art station with its undulating lattice facade plays a key role in the world’s longest driverless transit system, spanning 176 kilometers across six lines and 85 stations.

The Riyadh Metro network is a major urban initiative by the Royal Commission for Riyadh City (RCRC), designed to alleviate traffic congestion and improve the quality of life for the city’s growing population. With a daily capacity of 3.6 million passengers, the system will reduce car dependency and promote sustainable transportation. The opening of the Blue, Yellow, and Purple lines will connect key districts, business centers, and cultural landmarks across the city.

UPDATE March 3rd, 2025: Since its opening, the Riyadh Metro has served over 18 million passengers in its first eleven weeks, with the Zaha Hadid-designed King Abdullah Financial District (KAFD) Metro Station playing a key role. The KAFD station, a major interchange in the world’s longest driverless transit system, has handled over three million passengers since its inauguration, connecting the financial district with King Khalid International Airport and local monorail services. See images of the KAFD Metro Station in use in the gallery below!

images © Hufton + Crow Photography

a major link for the saudi arabian capital

The team at Zaha Hadid Architects completes the KAFD Metro Station, bringing a vital interchange for the city’s network. The hub connects rail services with bus routes and park-and-ride facilities. Strategically located in the King Abdullah Financial District, it links the district’s terminus to King Khalid International Airport and provides direct access to the KAFD monorail skybridge. The design incorporates both indoor and outdoor plazas, creating vibrant public spaces for the area.

Connectivity is a core principle of ZHA’s design. The station’s configuration is based on predictive modeling of rail, car, and pedestrian traffic flows, resulting in a layout optimized to minimize congestion and maximize efficiency. An undulating three-dimensional lattice structure, inspired by opposing sinewaves, organizes the building’s circulation while shaping its architectural identity.

Zaha Hadid Architects designed the KAFD Metro Station in Riyadh

monumental design by zaha hadid architects

The Riyadh Metro Station’s exterior is clad in ultra-high-performance concrete panels, which Zaha Hadid Architects designs with geometric perforations to reduce solar gain. This facade, a reinterpretation of traditional regional architecture, echoes the natural patterns formed by desert winds. The design balances aesthetic impact with practical environmental benefits, offering both shelter and sustainability.

ZHA optimized the station’s design to enhance structural efficiency and environmental performance while simplifying the construction process. The station’s external envelope integrates with its internal structure, supporting both the train platforms and viaducts. Sliding door panels on platforms retain cool air, while a high-efficiency cooling system, powered by renewable energy, adjusts to passenger levels throughout the day. These features have earned the station LEED Gold certification.

the station is part of the world’s longest driverless transit system

the facade reduces solar gain with perforated ultra-high-performance concrete

the design prioritizes efficiency using a lattice structure inspired by sinewaves

Riyadh Metro spans 176 kilometers with six lines and 85 stations

a renewable-powered cooling system and passive design earned LEED Gold

the system reduces car dependency and supports sustainable transport

project info:

name: King Abdullah Financial District (KAFD) Metro Station

architecture: Zaha Hadid Architects | @zahahadidarchitects

location: Riyadh, Saudi Arabia

completion: December 1st, 2024 (public opening)

photography: © Hufton + Crow Photography | @huftonandcrow

ZHA design: Zaha Hadid with Patrik Schumacher

ZHA project principal: Gianluca Racana

ZHA project director: Filippo Innocenti

ZHA project architect: Gian Luca Barone

ZHA project associate: Fulvio Wirz

ZHA construction support leads: Marco Amoroso, Domenico di Francesco

ZHA construction support services: Vincenzo Caputo, Abdel Halim Chehab, Marko Gligorov,

Stefano Iacopini

ZHA project team: Marco Amoroso, Vincenzo Caputo, Abdel Halim Chehab, Lee Cubeddu,

Rawan Al-Derjem, Domenico Di Francesco, David Fogliano, Manuele Gaioni, Marko Gligorov,

Subharthi Guha, Alexandros Kallegias, Lisa Kinnerud, Alexandre Kuroda, Stefano Iacopini,

Carolina López-Blanco, Jamie Mann, Mohammadali Mirzaei, Arian Hakimi Nejad, David

Wolthers, Nicola McConnell, Mario Mattia, Massimo Napoleoni, Niki Okala, Carlos Parraga-

Botero, Sohith Perera, Izis Salvador Pinto, Carine Posner, Neil Rigden, Paola Salcedo, Nima

Shoja, Thomas Sonder, Vincenzo Reale, Kate Revyakina, Roberto Vangeli, Seungho Yeo

ZHA competition team: Alexandre Kuroda, Fei Wang, Lisa Kinnerud, Jorge Mendez-Caceres

structural engineer: BuroHappold

building services engineer: BuroHappold

transport & civil engineers: BuroHappold

fire protection & life safety engineer: BuroHappold

people flow: BuroHappold

acoustic consultant: BuroHappold

sustainability consultant: BuroHappold

lighting consultant: BuroHappold

facade engineering: Newtecnic

design management: AECOM

specification consultant: AECOM

cost consultant: AECOM

signage & wayfinding: Transport Design Consultancy

safety assessment: BH with Transsol

development engineer: Riyadh Metro Transit Consultants (RMTC)

main contractor: BACS Consortium

independent checking engineer: Buro Veritas

independent safety assessor: TÜV Rheinland / ISARail Group

transit systems: Line 1 Siemens (BACS), Line 4&6 Alstom (FAST)

viaducts: AECOM & TriPod-ssd (Line1), Atkins (Line 4&6)

automatic fare collection: Indra

structure contractor: Saudi Lebanese Tarouk Contracting

MEP contractor: Zamil

interiors contractor: DEPA

elevators, escalators: ThyssenKrupp

facade contractor: Permasteelisa Gartner Saudi Arabia

landscape contractor: DEPA

The post with an undulating lattice facade, zaha hadid architects’ metro station opens in riyadh appeared first on designboom | architecture & design magazine.

Architecture studio Snøhetta has won the competition to design the new cable car stations in Koblenz, Germany, set within the UNESCO World Heritage Site of the Upper Middle Rhine Valley. The project aims to introduce contemporary architectural elements that complement the historical setting, creating a fluid blend between modern functionality and heritage preservation.

Koblenz’s cable car system, initially introduced in 2011 for the Federal Horticultural Show, connects the city center with the Ehrenbreitstein Fortress, located across the Rhine River. Originally a temporary structure, the system has grown into a key feature of the city, offering an environmentally friendly transportation option that aligns with local conservation goals. Snøhetta’s redesign marks a shift toward permanence, addressing the unique requirements of operating within a sensitive historical landscape.

the Valley Station is enclosed by a curved rooftop | images © Snøhetta

snøhetta draws from the region’s history and landscape

Snøhetta’s lower cable car station, known as the Valley Station, will be situated near Koblenz’s historic Basilica of St. Castor. The project incorporates design elements that honor this site’s architectural legacy. With a curved form that mirrors the basilica’s elegance, the station adapts to the region’s architectural motifs while preserving its own contemporary relevance. According to competition jurors, the station’s restrained design integrates into the World Heritage site without sacrificing architectural significance. Its gracefully curving metal roof echoes the basilica’s profile, blending modernity with heritage.

The architects‘ choice of materials for the valley station emphasizes local architectural traditions. The station’s metal roof, supported by a wooden framework on V-shaped concrete columns, is inspired by Koblenz’s historic roof and facade patterns. The roof’s metal shingles and the subtle green tones capture the natural play of light along the Rhine, adding a reflective quality that enhances the riverside setting. With this choice of materials, Snøhetta reinforces the relationship between architecture and the surrounding natural landscape.

the Mountain Station features a chamfered roof

The upper station — the Mountain Station — will be located at Ehrenbreitstein Fortress, presents a cohesive yet distinct design aligned with the valley station. Covered by a chamfered metal roof, the station incorporates stoic, robust forms that reflect the fortress’s historic presence. Supported by slender columns, the station’s wooden and metal structure features warmer hues, complementing the fortress’s earthy tones. The ‘flying’ roof, extending over the ticketing and kiosk area, creates a sheltered space for visitors while integrating an existing tree and adding depth to the station’s horizontal profile.

For Snøhetta, this project is as much about respecting Koblenz’s historical narrative as it is about creating functional infrastructure. ‘The cultural landscape and identity of the Upper Middle Rhine Valley are shaped by centuries of human intervention,’ says Patrick Lüth, Partner and Managing Director at Snøhetta’s Innsbruck studio. ‘The new stations engage in dialogue with this culturally significant landscape, honoring Koblenz’s architectural identity while bringing it into a contemporary context.’

project info:

name: Cable Car Stations

architecture: Snøhetta | @snohetta

location: Koblenz, Germany

status: competition winner, in progress

visualizations, drawings: © Snøhetta

The post snøhetta to bring glimmering green cable car stations to koblenz, germany appeared first on designboom | architecture & design magazine.

Teague reaffirms its commitment to enhancing the human experience, whether traversing the landscapes of Earth or exploring the Moon. Roam America and Lunar Habitat, both honored with an iF DESIGN AWARD in 2024,  push the boundaries of creativity and ignite the imagination about the future of travel and human habitation. During designboom’s visit to the design consultancy’s Seattle studio, we had the opportunity to interview Nick Ross, Principal Industrial Designer at Teague, and Sushant Vohra, Senior Industrial Designer at Teague, who led us through the studio’s design philosophy, methodology, and award-winning concepts like the future of design in space, and the evolution of long haul passenger rail in North America.

‘The most unique thing about Teague is everyone’s passion for solving humanity’s most complex problems. It is very field-agnostic, so that could manifest into designing the future of transportation, figuring out life and design in space, or simply a delightful physical or digital experience. Even though we’ve been around for almost a century, we keep asking ourselves: why hasn’t design penetrated every industry? We see design as a massive force that can push businesses, and reimagine the future of humanity,’ says Sushant Vohra, Senior Industrial Designer at Teague during designboom’s studio visit interview series to celebrate iF DESIGN AWARD 2024 winners.

designboom visited Teague’s workshop in Seattle, Washington, as part of a studio visit series with iF DESIGN AWARD 2024 winners
images © designboom

A LEAP FROM PASSENGER RAIL ‘ROAM AMERICA’ TO A ‘LUNAR HABITAT’

Founded in 1926, Teague has collaborated with some of the world’s largest companies to create iconic projects in aviation, technology, and consumer goods. During our visit and interview with the studio, we spoke with Nick Ross, Principal Industrial Designer, and Sushant Vohra, Senior Industrial Designer, who were instrumental in developing the two iF DESIGN AWARD- winning concepts: Roam America and Lunar Habitat. The Seattle-based design consultancy’s recognition by the Award platform – and its jury of top peers in the creative community –  celebrates their efforts to create thoughtful, human-focused solutions. It further gives the studio validation that their efforts to improve human experiences, no matter how conceptual, can be catalysts for future innovation.

‘For us, applying to the iF DESIGN AWARD is crucial because it enables us to connect better with the design community and get validation from industry peers and designers. As a result of that, the recognition boosts morale, helps us level up our craft, and find opportunities where we can innovate and inspire ourselves,’ says Vohra.

founded in 1926, Teague designs to improve human experiences

CONNECTING COMMUNITIES WITH ‘ROAM AMERICA’

Roam America  reimagines rail travel in the United States with inclusivity, accessibility, and the evolving needs of modern travelers. By focusing on a slower, more intentional travel experience, Teague’s design invites travelers onboard and onto an app to immerse themselves in the rich tapestry of communities and cultures, allowing them to work, engage in activities, or relax while en route. The project was inspired by Teague designer’s experiences with both the ‘great American roadtrip’ and the Overseas Experience (OE) from New Zealand, two traditions that encourage travelers to explore and connect with regional cultures, local cuisine, events, and activities.

‘A lot of the inspiration behind Roam originated from this concept in New Zealand called the Overseas Experience (OE). More often than not, you go over to Europe, and travel from country to country, dabbling and experiencing a unique array of cultures and experiences that often shape your future,’ explains Nick Ross, Principal Industrial Designer at Teague. ‘Roam tries to capture this concept in North America, encouraging people to engage with the communities across the different states.’

Roam America and Lunar Habitat, both honored with an iF DESIGN AWARD in 2024, explore the landscapes of Earth and the Moon respectively

Roam America’s modular and flexible design transforms the traditional train interior into reconfigurable spaces for work, leisure, and family interaction, breaking away from the rigid seating arrangements of today’s American rail systems. A standout feature is the family-focused car. Imagine a train car that transforms into a playground, blending digital interaction with the ever-changing scenery outside. This thoughtful approach encourages young travelers to engage with their surroundings, fostering curiosity and adventure as they journey through America.

‘We wanted to treat the different cars in a flexible way and really lean into the idea of modularity. One example is the child car, which we wanted to turn into a full playground for children to interact with, both digitally and physically. The idea was to use screens in a very thoughtful way so that children would be able to interact with the environment around them, and as that landscape changes, the experience becomes more and more compelling and unique,’ says Ross.

Teague’s approach to design is both intricate and collaborative, reflecting a deep understanding that no two projects are alike

A LEAP TO A ‘LUNAR HABITAT’

‘The concept of people and zones also translates to the Lunar Habitat concept, but in this case, we were designing for an off- world experience,’ says Vohra. ‘What triggered the Lunar project was imagining what life would look like on the moon. I think that’s a far- fetched thought for many, but not for us at Teague. Our solutions are accessible to everybody — people who are heavily trained versus people who are moderately trained. This is something that we believe will enable advancement in the space economy, and boost the speed of development.’

Transitioning from Earth-bound travel to life beyond our planet, Teague’s Lunar Habitat opens up a visionary future for life on the moon. Unlike today’s highly-trained astronauts, future missions will carry a diverse mix of individuals, each needing an environment that harmonizes survival with well-being. As ambitious as it is adaptable, the concept addresses the needs of this pioneering community by designing a modular, inflatable, and scalable structure that optimizes living space, ensures safety, and enhances human connection. The result is an environment that feels as comfortable and supportive as it is functional. 

a project’s development process allows the team to tailor their methodologies to the specific client and user, before advancing into more detailed stages like prototyping

Lunar Habitat acknowledges the social and psychological challenges of living in space for extended periods, prioritizing this through the use of innovative architecture, adaptive lighting, and thoughtfully-chosen materials. By focusing on the human experience, the design fosters a sense of community and productivity— – critical for the success of long-term space missions. The modularity ensures adaptability as the needs of lunar inhabitants evolve. At the same time, the architecture promotes personal connection and mental well-being, creating a livable, sustainable environment for people working far from Earth.

‘At its core, both Roam and Lunar represent programs that are designed for the human experience in starkly different terrains. We tried to lean into the different modalities we experience in our day to day life, from moments of relaxation to moments of productivity. This is very true with Lunar as well,’ says Ross.

as ideas evolve, the iterative process allows for continuous refinement and adaptation

TEAGUE’S POWER OF PROTOTYPING: ITERATION AND REFINEMENT

Teague’s approach to design is both  intricate and collaborative, reflecting a deep understanding that no two projects are alike. Their development process begins with a thorough exploration of the problem at hand, often involving extensive research and stakeholder engagement. By immersing themselves in the unique context of each idea, the team gathers insights that inform their direction. This foundational phase is crucial, allowing Teague to tailor their methodologies to each client and user, before advancing into more detailed stages like prototyping.

As Vohra puts it, ‘No two projects are the same, and one thing we’ve realized is that our approach needs to be tailor- made for every scenario. We have access to a lot of tools, but the key is finding the right tool for the right job. Teague is really good at finding the language that the stakeholders, clients, and partners want to speak and translate that into sketches, prototypes, and CAD.’

prototypes play a key role for the studio, serving as tangible representations of ideas that can be tested, adjusted, and improved upon

As ideas evolve, the iterative process allows for continuous refinement and adaptation. Prototypes play a key role for Teague, serving as tangible representations of ideas that can be tested, adjusted, and improved upon. Feedback is actively sought and integrated, ensuring that the final product resonates with users and stakeholders alike. This commitment to collaboration and flexibility not only enhances the design outcome, but also cultivates a shared sense of ownership among all participants, making each project and award win a collective achievement.

‘A key part of our iterative process is putting prototypes into people’s hands, enabling them to engage with the design naturally and fully grasp the depth and rigor of the projects in real-world contexts. Prototypes and mockups facilitate this understanding, creating valuable insights that guide refinement and development towards the final version,’ says Ross.

commitment to collaboration and flexibility not only enhances the design outcome, but also cultivates a shared sense of ownership among all participants

each project and award win is a collective achievement for the team at Teague

Teague creates prototypes and large-scale mockups at their 27,000 square foot workshop outside Seattle, Washington

Nick Ross, Principal Industrial Designer at Teague (left), and Sushant Vohra, Senior Industrial Designer at Teague (right), spoke to designboom as part of a studio visit interview series to celebrate iF DESIGN AWARD 2024 winners

Since its founding over 70 years ago, iF Design has been renowned for celebrating the highest levels of excellence and impact in design. This year, designboom and iF Design are honoring winners of the iF DESIGN AWARD 2024, by visiting some award-winning studios in the United States. In these visits, we learn about the creative philosophy of each practice, their designs, and the benefits of entering the prestigious design competition.

iF Design opened its first North American office in New York City last year, with a focus on bringing more American designers into the organization’s global community. Register by November 4th  to showcase your best creative projects in the iF DESIGN AWARD 2025.

Interested to learn more? The iF DESIGN AWARD is now open for 2025 entries, encouraging designers and studios worldwide to showcase their best creative visions and executions.

project info:

name: Roam America
design/manufacturing: Teague | @teague1926
design team: Nick Ross; Alex Sakalian; Matt McElvogue; Victor Coulet; Noel Rivard
award: iF Design Award 2024 | @ifdesign
design category: Public Sector / Government, Trade / Industry

date of launch: 2022

project info:

name: Lunar Habitat
design/manufacturing: Teague | @teague1926
design team: Nick Ross; Alex Sakalian; Sushant Vohra; Jacqui Belleau; Sara Matheny; Matt McElvogue; Laura Child
award: iF Design Award 2024 | @ifdesign
design category: Trade / Industry, Public Sector / Government

date of launch: 2022

The post iF DESIGN AWARD 2024 winner series: teague visit and interview appeared first on designboom | architecture & design magazine.